Seal the Seal of the People
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First, force
Force, refers to the power of the pen - the calligrapher and painter write "powerful" lines with "powerful" brushwork. Those who call "the beauty of force" are energetic, healthy, and jian, such as vigor, jianjian, strong, and so on. Weakness is weak, soft, floating, light, said to be slippery, weak, light, and weak with the pen, all related to weakness, not affirmed by people. The strength is full, there is momentum, there are bones, so the book has "the wonder of the thunder falling stone, the capital of the Hongfei beast, the state of the snake dancing, the trend of the peak of the absolute shore", and there are "pen ends of the golden pestle" and "lifting a weight as light as light". Heavy and thick, force as the condition; desire to change, force is the foundation. Previous generations have said: "Force, predicate the body also", which shows the importance of force in pointill painting. However, strong lines are conditional on the attainment of the law and the degree. The word "force" on the one hand is about strength, and on the other hand, it is about being moderate, gathering momentum, and not exhausting it.
Ouyang inquired about Xiao Kai's Prajnaparamita Heart Sutra
Predecessors said that the pen should not be "drawn", "painted" and "smeared". The painter is powerless; the painting and smearing are not lawful, or the qi is reserved, and the force is not momental. Praise a good "pen", often use the word "vigorous". The word "遒劲" contains a double meaning. The Zhengyun (正韵) says: 遒, "Kenya, Jinye"; the Shuowen interprets "Forced Ye". The "compulsion" of the pen can be analyzed by Liu Xizai's words: "The pen wants to do it, and if there is something to refuse, try its best to fight with it." ", so the abstinence is straight. Talking about "staying", talking about "astringency", and talking about "tenacity" is also the same truth. What Mi Fu said, "There is no hanging, no shrinking, no going, no receiving", which the scholar regards as "the mantra of the eight characters, the curse of no equality", that is, it is said that it can be retained everywhere. "Harvest", later generations have made a compound word, become "no return", can be said to be a little gold into iron.
"Jonny Dream Post"
Second, heavy
"Force" is the sense of force, "weight" is the sense of gravity. The so-called "heavy", in the past words, is to be able to "human paper", can "produce paper", if the stroke is carved with human fiber, the human wood is three points, and intuitively feel that it overflows outside the paper, and the essence is rotten. Coarseness does not see its weight, obesity is perceived as light. Without pen power, the dot painting is like a dead grass leaf, falling with the wind, full of papyrus, a frivolous.
The weight does not absolutely reject external forces, but it does not appear to external forces, and mainly cares about internal forces. The so-called pen, including the pen and the pen, is the ability to make and transport the brush, the operation has a slow disease, the scope has a size, the style has rigidity and softness, the technique has changed, the milliying has softness and hardness, and each should be applied with appropriate external forces. However, the more mature the calligrapher and painter, the more he always sees the ease of traveling, calm and happy. Or comment: "If the weight is light", "if you don't force it in it", so it is high.
Chu Suiliang Selected Pages of master Meng's Stele
Focusing on the force (that is, weight), the pen often ignores the side of "lifting the pen", but lacks internal strength. Hua Ting and An Wu compared the full strength of the pen to "hercules", and the hercules "rose up and fell down" and "had no intention of being defensive, and those who violated on all sides had no advantage of what they should not have." It can be pressed and lifted, and it can be held everywhere at all times, so that it can avoid falling, drifting two diseases, and use the pen to be heavy and light. In this regard, Liu Xizai made a very profound dialectical analysis: "The two words of the scholar Yu Mention and the Press are compatible but not separated. Therefore, the heavy place with the pen must be lifted, and the light place with the pen must be pressed again. "It should be known that the handwriting is light and weak is a disease, the slippery is a disease, and the sluggishness and stubbornness cannot be healthy, which is also a disease."
Yan Zhenqing's "Li Xuanjing Monument" (partial)
Three, thick
"Thick" and "heavy" are two manifestations of the same thing: heavy is thick. Thick means thick traces and thick taste. The so-called "leaping on paper", the paper is thick, although thinner than the wings of the cicada, it must not be considered light and flat. Between the dot paintings, three folding pens, want to line still, like a disease condensation, want to gather and scatter, its taste is thick. To the width, it is like a piece of music, high or low, or urgent or slow, or broken or connected, or with or without, coming and going, melodious into rhyme, there is a rhythm of the eyes, the best of the suppressed, the taste is also thick, it is for "wonderful listening".
Thickness is an aesthetic perception, not a "three-dimensional sense". "Three-dimensional sense" refers to the three-dimensional space in which objects are represented on a flat surface.
Liu Gongquan's Mengzhao Ti, 26.8 cm high and 57.4 cm long, is in the collection of the Palace Museum in Beijing
The sense of strength, thickness, rhythm, etc. of pointillism cannot be required to have a "three-dimensional sense". "Three-dimensional sense" belongs to the category of expression, not an aesthetic requirement, that is, it is not a necessary condition for the beauty of the line. Those who are "thick", God is thick, and qi is thick. Otherwise, "Yu Chu is an inch off the paper" cannot be understood. Pen lines such as bamboo chips, such as dead wood, can still have its square flat or round "three-dimensional sense", but not thick and not heavy, can not be called good; pen line, charcoal line, there is also its unique "three-dimensional sense", such as round and fluent, etc., but not heavy, difficult thick, less interesting, can not be equated with Chinese painting and calligraphy unique meaning of dot painting, can not be included in the category of Chinese painting and calligraphy appreciation.
Mi Fu 'Daolin Poetry》 Book on Paper Length 30.l cm Width 42.8 cm Collection of the Palace Museum in Beijing.
Fourth, quality
Discussing calligraphy and painting with the concept of "texture" is tantamount to adding a shackle to oneself to the paradoxical and non-beneficial theoretical plausible, just like "three-dimensional sense". Here are two passages in which some scholars discuss texture: "Pen power is the sense of strength." This strength refers to the hard and tough lines. The seal book calls 'jade seal' and 'iron wire seal', which means that its texture is as hard as iron and jade. "The 'line' formed by the 'inner prying method' is square in form, and the 'line' formed by the 'external extension method' is rounded in form, and the 'texture' of the line is therefore different."
Wen Zhengming, "Five Words and Verses of the Book of Conduct", vertical scroll on paper, 191x72.2cm, National Palace Museum, Taipei
This means that the line requires a certain "texture", or that the line produces a certain "texture". In fact, the existence of "quality" is one of the important criteria for the lines of Chinese painting and calligraphy, but there is an essential difference between "quality" and "texture". Huang Gu once said: "Pen power, there are differences in the same, and there are similarities in the differences." Zhang Changshi folded the strands, Yan Taishi's house leak marks, Wang Youjun cone painting sand, printing mud, Huaisu flying birds out of the forest, snakes and grasses, Suo Jing silver hook, grass tail, the same stroke. ”
Tang Yin, "Yuhuatai Feeling The Poetry of the Past", book on paper, 27.5×31cm, Collection of the Palace Museum, Beijing
When I first read this passage, I felt that it stopped abruptly and did not finish. Later, I thought about his "not saying", playing with two of the "different", three "same", but I knew that there was a deep meaning, and his pen power, and even the great truth of calligraphy art, were almost exhausted.
Zhao Mengfu "To Ji Boza" on paper, 27.7cm in length and 49.4cm in width. Princeton University Museum of Art, USA
Source: East Sea Novelty Culturer
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